Taidekeskus Itä
Valtakatu 66, Lappeenranta
ti-pe 11-17
la 11-14
“Rivers Downfall” is the second iteration of an evolving international collaboration between
jewellery artists Dariusz Wojdyga (Norway) and Caroline Bach (France). The first edition of this
project debuted in 2023 at A-Galeria in Tallinn, Estonia, presenting a modest yet deeply evocative
preview of what has now developed into a full-scale exhibition. This iteration dives further into a
shared commitment: to raise ecological awareness and engage audiences with urgent conversations
about freshwater ecosystems, using the language of contemporary jewellery art.
This collaborative project is rooted in a convergence of friendship, shared concerns, and aligned
artistic values. Caroline and Dariusz met while studying at the Gerrit Rietveld Academie in the
Netherlands, after completing formal training in their respective home countries—Caroline at ESA
Duperré in Paris and Dariusz at Oslo National Academy of the Arts. As emerging artists, they are
part of a new wave of creators responding directly to the environmental crisis, exploring how art
can act not only as an expression of concern but also as a catalyst for change.
In “River Downfall,” Dariusz and Caroline use the craft of jewellery—often intimate, symbolic, and
materially sensitive—as a vessel for environmental storytelling. The exhibition focuses on rivers as
carriers of both life and loss, narrating how these vital freshwater systems are shaped, damaged, and
transformed by human activity. The artists investigate the materiality of pollution, the consequences
of negligence, and the ecological scars left behind. Through their work, they attempt to restore
visibility to what has too long been hidden beneath the surface.
The exhibition concentrates on three rivers, each bearing witness to a specific ecological disaster:
– Akerselva, in Oslo, Norway, where Dariusz lives and works;
– La Dore, in central France, where Caroline grew up;
– The Rijn (Rhine), flowing through the Netherlands, where Caroline now resides;
These rivers have suffered through toxic chemical spills, hormonal disruptions caused by
pharmaceutical waste, and industrial poisoning. Each represents not just a geographical reference
but a case study of environmental degradation. Dariusz and Caroline treat these rivers not as
abstract symbols, but as living systems with histories, personalities, and vulnerabilities.
Caroline’s series “Wild Water” has evolved since 2017, with each piece advocating for a distinct
aquatic ecosystem. For “Rivers Downfall,” she deepens her exploration by focusing on La Dore and
the Rijn. La Dore suffered a silent catastrophe when pharmaceutical pollution caused irreversible
hormonal changes in fish, rendering entire populations infertile and effectively extinct. In the Rijn,
a chemical factory accident in the 1970s marked one of Western Europe’s first widely
acknowledged ecological disasters, leaving a permanent stain on the collective environmental
consciousness. Caroline crafts intricate, multifaceted pieces that trace the pathways of these rivers,
using materials and colour gradients to reflect the progressive loss of purity at each point of
pollution. Her works are both topographic and narrative—each bend of silver or shard of coloured
glass reveals another chapter in the river’s decline.
Dariusz’s contribution centers around Akerselva, a river no longer than 10 kilometres that threads
through the heart of Oslo. Despite its size, Akerselva has played a vital role in the city’s
development—ecologically and culturally. In 2011, a chlorine spill devastated the river’s aquatic
life. Although salmon returned by 2015, remnants of urban neglect—shopping carts, plastic waste,
rusting metal—still populate the riverbanks. Dariusz collects these discarded fragments and
transforms them into jewellery pieces. By embedding pollution into objects of beauty, he subverts
the expectations of ornamentation and forces the viewer to confront the realities of environmental
disregard. His practice avoids external energy usage wherever possible, aligning his artistic
methodology with his ecological convictions.
Both artists place sustainable practice at the core of their work. Caroline draws on her background
in ecosystem activism—passed down from her family—to guide material choices and design
strategies. Dariusz limits his reliance on material choice and sourcing, demonstrating how artistic
innovation can coexist with environmental responsibility. Together, they embrace a process that is at
once critical, poetic, and deeply personal.
Rivers, as the artists observe, are more than natural features or utilitarian water sources. They are
living archives, shaped over millennia, carved through rock and soil, winding their way from
mountaintops to oceans. They collect our history—our industry, our waste, our carelessness—and
reflect it back at us. But rivers also offer hope. They regenerate when given the chance. Life returns
if pollution recedes. In this spirit, “River Downfall” is not just an indictment but an invitation—to
listen, to care, and to act.
With jewellery as the medium, this exhibition challenges conventional ideas about scale, value, and
visibility. Jewellery objects become messengers of vast ecological narratives. Through the poetic
power of crafted materials, Wojdyga and Bach make the unseen visible and the forgotten
unforgettable. “Rivers Downfall” is a call to remember our rivers—not just as waterways, but as
lifelines—and to rethink how much we depend on them.
